Lesson 10: Creative Hymn Playing

Lesson Overview

Rearranging Voice Parts

Manual-Only Playing

In this approach, all four hymn voices are played on one manual without using the pedals.

Although this removes pedal coordination, it requires the hands to manage all four voices in legato style with clean independence of line. Finger substitution, glissandos, and careful fingering become especially important. Manual-only playing can be more easily achieved by playing a hymn in the normal arrangement using the pedals, then retiring all the pedal stops and engaging the manual-to-pedal couplers.

Manual-only playing creates a lighter and more reflective effect because the deep 16’ pedal foundation is temporarily absent.

This technique is most effective for reflective texts or for creating contrast within a hymn.

The demonstration video below showcases manual-only playing in the hymn "Abide with Me!"

Soprano Solo

In this technique:

• The right hand plays only the melody on one manual with a prominent solo registration.

• The left hand plays alto and tenor on another manual with a softer accompaniment registration.

• The pedals play the bass.

The melody may be played in its written octave, or down an octave for a warmer and less assertive solo sound.

This technique is especially useful in:

• Hymn introductions

• Unfamiliar hymns

• When emphasizing the text of a particular verse

It may be used for an entire verse or for only a portion of a verse.

The score and demonstration video below showcase soprano solo in the hymn "Praise to the Lord the Almighty."

Alto Up an Octave

In this technique:

• The right hand plays the soprano normally,

• while also playing the alto voice an octave higher than written,

• The left hand plays the tenor,

• And the pedals play the bass.

Raising the alto creates a descant-like effect.

This technique works especially well:

• When the alto line is melodically interesting,

• near the end of a final verse,

• or when building toward a climactic ending.

The score and demonstration video below showcase alto up an octave in the hymn "Praise to the Lord the Almighty."

Soprano and Tenor Switch

This is the most complex creative hymn playing technique.

In normal hymn playing, the soprano melody is the highest voice and is therefore heard most clearly. In this technique, the tenor line is moved above the soprano so that the tenor becomes the most prominent upper voice. At the same time, the melody is placed an octave lower within the texture.

To do this:

• The left hand plays the tenor line one octave higher than written,

• The right hand plays the alto line an octave higher, but the entire right hand is moved down an octave so that soprano and alto are lower in the texture.

• The pedals play the bass as usual.

The result is a very interesting musical effect that can sound like a free accompaniment, since the hymn melody is no longer the most prominent voice.

Because this is the most complex creative hymn playing technique, it can quickly become confusing. It should therefore be practiced carefully and slowly at first. Some organists find it helpful to place their hands on separate manuals to keep the voices visually and physically organized. Some organists may also find it helpful to rewrite the hymn entirely in this way to make it easier to read, execute, and visualize.

If the texture becomes difficult to manage during performance, smoothly return to normal hymn playing.

The score and demonstration video below showcase soprano and tenor switch in the hymn "Praise to the Lord the Almighty."

Using Nonharmonic Tones

Pedal Points

A pedal point occurs when one note, typically a note in the bass, is sustained while the harmonies above it change.

Most pedal points use:

• the tonic,

• or dominant scale degree.

Pedal points are often effective:

• before final cadences,

• during interludes,

• or when building anticipation in the final verse.

The score and demonstration video below showcase a pedal point and a passing tone in the last part of the hymn "In Humility Our Savior."

Creative Hymn Introductions

Interludes